Lucasta [42]
<44.1> This lady was perhaps the daughter of Edward Filmer, Esq., of East Sutton, co. Kent, by his wife Eliza, daughter of Richard Argall, Esq., of the same place (See Harl. MS. 1432, p. 300). Possibly, the Edward Filmer mentioned here was the same as the author of "Frenche Court Ayres, with their Ditties englished," 1629, in praise of which Jonson has some lines in his UNDERWOODS.
<44.2> Original reads FOR.
<44.3> "Which ensuing times shall warble, When 'tis lost, that's writ in marble." Wither's FAIR VIRTUE, THE MISTRESS OF PHILARETE, 1622.
Headley (SELECT BEAUTIES, ed. 1810, ii. p. 42) has remarked the similarity between these lines and some in Collins' DIRGE IN CYMBELINE:--
"Belov'd till life can charm no more; And MOURN'D TILL PITY'S SELF BE DEAD."
TO MY WORTHY FRIEND MR. PETER LILLY:<45.1> ON THAT EXCELLENT PICTURE OF HIS MAJESTY AND THE DUKE OF YORKE, DRAWNE BY HIM AT HAMPTON-COURT.
See! what a clouded majesty, and eyes Whose glory through their mist doth brighter rise! See! what an humble bravery doth shine, And griefe triumphant breaking through each line, How it commands the face! so sweet a scorne Never did HAPPY MISERY adorne! So sacred a contempt, that others show To this, (oth' height of all the wheele) below, That mightiest monarchs by this shaded booke May coppy out their proudest, richest looke.
Whilst the true eaglet this quick luster spies, And by his SUN'S enlightens his owne eyes; He cures<45.2> his cares, his burthen feeles, then streight Joyes that so lightly he can beare such weight; Whilst either eithers passion doth borrow, And both doe grieve the same victorious sorrow.
These, my best LILLY, with so bold a spirit And soft a grace, as if thou didst inherit For that time all their greatnesse, and didst draw With those brave eyes your royal sitters saw.
Not as of old, when a rough hand did speake A strong aspect, and a faire face, a weake; When only a black beard cried villaine, and By hieroglyphicks we could understand; When chrystall typified in a white spot, And the bright ruby was but one red blot; Thou dost the things Orientally the same Not only paintst its colour, but its flame: Thou sorrow canst designe without a teare, And with the man his very hope or feare; So that th' amazed world shall henceforth finde None but my LILLY ever drew a MINDE.
<45.1> Mr., afterwards Sir Peter, Lely. He was frequently called Lilly, or Lilley, by his contemporaries, and Lilley is Pepys' spelling. "At Lord Northumberland's, at Sion, is a remarkable picture of King Charles I, holding a letter directed 'au roi monseigneur,' and the Duke of York, aet. 14, presenting a penknife to him to cut the strings. It was drawn at Hampton Court, when the King was last there, by Mr. Lely, who was earnestly recommended to him. I should have taken it for the hand of Fuller or Dobson. It is certainly very unlike Sir Peter's latter manner, and is stronger than his former. The King has none of the melancholy grace which Vandyck alone, of all his painters, always gave him. It has a sterner countenance, and expressive of the tempests he had experienced."--Walpole's ANECDOTES OF PAINTING IN ENGLAND, ed. 1862, p. 443-4.
<45.2> Original reads CARES.
THE LADY A. L.<46.1> MY ASYLUM IN A GREAT EXTREMITY.
With that delight the Royal captiv's<46.2> brought Before the throne, to breath his farewell thought, To tel his last tale, and so end with it, Which gladly he esteemes a benefit; When the brave victor, at his great soule dumbe, Findes something there fate cannot overcome, Cals the chain'd prince, and by his glory led, First reaches him his crowne, and then his head; Who ne're 'til now thinks himself slave and poor; For though nought else, he had himselfe before. He weepes at this faire chance, nor wil allow, But that the diadem doth brand his brow, And under-rates himselfe below mankinde, Who first had lost his body, now his minde,
With such a joy came I to heare my dombe, And haste the preparation